December 28, 2017

Since
my wife has declared Idris Elba to be one her next potential
husbands, I thought she might want to sit-in on this one. She
declined, however, saying it sounded depressing. For the most part,
Francie prefers lighter fare...comedies, romance, action, sci-fi or
various combinations of those genres. Dark, gritty intensity isn't
really her thing.

After
watching The Mountain Between Us, I concluded that
Francie should've taken me up on the invite because this was more up
her alley than mine.

Elba
and Winslet play Ben and Alex, two strangers who have urgent
destinations but inclement weather strands them in Boise. Desperate,
they charter a small plane, which crashes in the snowy mountains
after the pilot (Beau Bridges) suffers a stroke. Along with the
pilot's dog, they are forced to make their own way through the
mountains to try and save themselves. There's danger along the way,
of course - not made any easier by Winslet's leg injury - but aside
from a creatively vivid plane crash, none of it is particularly
gripping or intense, nor do we often fear for these characters' lives
(though I was occasionally worried they were gonna end up eating the
dog).

"Care to join the Mile High Club?"

But
it turns out that The Mountain Between Us is more about the
developing relationship between the two leads than their perilous
predicament. The so-called "mountain" of the title is the personal barrier Ben has put up, which Alex seems determined to climb over. Without going into "spoiley"
specifics, when they aren't wading through hip-deep snow or eating
mountain lions, Ben and Alex discover they need each other for more
than mere survival. So
yeah, the movie turns into a
love story. While that isn't necessarily a deal-breaker, it does
render the second half a little less interesting for those of us
expecting an angry bear or inconvenient avalanche to liven things up.
Still, it's a decent enough story boosted by considerable star
power, one damn charming dog and some beautiful locations.

Sometimes dogs hate walkies.

While it ain't exactly The Revenant - or even The Grey -
The Mountain Between Us is certainly watchable and
entertaining enough if one knows what they're in for. Not-so-much a
survival tale as it is a love story under dire circumstances, fans of
the two actors (Elba in particular) should enjoy it. Looks like Francie missed out.

Don't
be fooled by the cover. This
is not another Arnold Schwarzenegger action-fest. In fact, he doesn't
even appear onscreen until the final 15 minutes.

Nor
is it even an action movie. Instead, Killing Gunther is a
mockumentary written, directed-by and starring Saturday Night Live
alum Taran Killam. Aiming for a vibe similar to a Christopher Guest
film, Killam plays Blake, a cocky killer-for-hire who targets the top-dog in the assassination business, Gunther (Schwarzenegger), for bragging rights. He recruits a goofy assortment of
colleagues and hires a film crew to document everything for
posterity. Unfortunately for them, Gunther is much better at his job
than even they assumed.

"I'm not unloading the dishwasher...you are."

Some
of this is funny and most of the characters are amusing (if a bit
over the top). Blake himself is probably the most well-rounded
character with an interesting backstory (his wife, also a
former assassin, left him for Gunther). However, a little of this
goes a long way. Unlike Christopher Guest's best films, which manage
to sustain their premises for the entire running time, Killing
Gunther eventually feels like one of those Saturday Night Live
sketches that doesn't know when to quit. What starts off as humorous
- occasionally laugh-out-loud funny - eventually grows repetitive and
tiresome until Arnold finally shows up to give the film a much-needed
shot in the arm.

While
it might have been more effective as a short, Killing Gunther
is sporadically funny enough to make it worth sitting through and has a chuckleworthy twist ending. However, I do think
it was a mistake to market the thing as a Schwarzenegger vehicle.
Even though I totally understand why, wouldn't it have been
great if he were given no billing at all, completely catching viewers
off guard? Just sayin'.

Can
you believe Terminator 2: Judgment Day is over a quarter-century old? It seems like just yesterday that I saw this on opening
weekend and was blown away by sights no one had ever seen before
(though even back then, the revelation that Arnold's character turned
out to be the hero was the worst-kept secret in Hollywood).

Those
too young to remember might not appreciate what a game changer T2
was at the time. Along with Die Hard, it redefined the modern
action film and it was suddenly okay for a studio to spend over $100
million on a single film. It's visual effects were as groundbreaking
as those in Star Wars and Jurassic Park. Director James
Cameron was able to write his own ticket. As for Arnold
Schwarzenegger...while he'd have a few more hits afterwards, this was
the pinnacle of his reign as the world's most beloved action hero.

T2
was the movie event of 1991, as unstoppable as its titular
character. Everything about it was so damn big, loud and flashy that
we totally overlooked its shortcomings (a trademark of most of
Cameron's films, really) and declared it the greatest sequel ever
made, even surpassing the original Terminator.

What does this button do?

A
lot has changed since then. Its cutting-edge visuals and explosive
action may seem old-hat compared to the city-wide
destruction inflicted by Marvel every year. On the franchise front,
recent Terminator sequels have been greeted like unwelcome
in-laws. Cameron went exclusively into the Avatar business and
the once-indestructible Arnold had the gall to grow old. Since the smoke
has died down and cooler heads prevailed, the original film has
regained its rightful place as the best film in the entire
franchise.

Still,
T2 remains one of the best sequels ever made and remains as
deservedly iconic as the first film. That'll never change. Cameron
may not be the most original or imaginative storyteller to ever sit
in a director's chair, but even his most grandiose visions remain
well-grounded by impeccable narrative skill and good characters. T2
could've forgone such trifles - the stuff Michael Bay seldom bothers with - and
still made a ton of money. But then, we wouldn't still be talking about it
today.

Another
thing that'll never change is its availability on home video, having
repeatedly been repackaged & rereleased countless times over the years. It was one
of the first films ever made available on DVD, as well as one of the
earliest Blu-Ray releases. So I'm actually kind-of surprised it's
taken this long to be given the 4K Ultra treatment.

"Alright, boys...let's tap this keg."

I'm
still not quite convinced 4K is a preferable format - I personally
think it makes this particular film look worse. Still, even those who
already own T2 but aren't quite ready to make the leap may
want to consider double-dipping for this one. While the 4K disc
features just the original theatrical cut, the accompanying Blu-Ray
has all three existing versions of the film (the original cut is the remastered version for a recent 3D theatrical release, though not
presented in 3D here). Best of all is an all-new retrospective
documentary, "T2: Reprogramming The Terminator."
Running nearly an hour, most of the key people on both sides of the
camera fondly recall all aspects of the film's production &
impact, including Schwarzenegger, Cameron, Edward Furlong, Joe
Morton, Robert Patrick, co-writer William Wisher, composer Brad
Fiedel, Carolco founder Mario Kassar and others.

Supposedly,
there's yet another version of T2 4K on the horizon that comes
with a life-sized Terminator "Endo-arm." As of this
writing, no release date has been set for that one. Until then, this
might be the definitive edition, which also includes a lot of vintage bonus
material from previous releases along with the new stuff.

EXTRA
KIBBLES

NEW
- "T2: REPROGRAMMING THE TERMINATOR"

FEATURETTE:
"The Making of T2" - Vintage documentary from 1993.

2
DELETED SCENES (both with optional commentary).

4
TRAILERS (including one for the 2017 3D re-release).

AUDIO
COMMENTARIES: One with director/co-writer James Cameron &
co-writer William Wisher, the other featuring 23 members of the cast
& crew.

3
VERSIONS OF THE FILM (Theatrical, Special Edition & Extended
Special Edition)

December 25, 2017

We reviewed a slew of
Blu-Rays, DVDs, books and CDs in 2017. Time to take a look back at
the best & worst of them. While we have seen more movies than the
Surgeon General recommends, our lists consist strictly of titles
which were sent to us for review purposes.

PURR-R-R...THE
BEST: We reviewed some good stuff this year, but the
following titles were better than being turned loose in a bird sanctuary:

10. DEATH RACE 2050
- Cheap, sleazy, violent, ridiculous, irredeemable...and a hell of a
lot of fun. Just like Roger Corman's original cult classic.

9. THE RED TURTLE
- Its
simple-yet-engrossing story, coupled with beautiful hand-drawn
animation, make the film a terrific change of pace from the usual
stuff passing itself off as family fare.

8. DETROIT
-Kathryn
Bigelow's best film to date. Hard to believe this is the same
director once responsible for Point
Break.Compelling,
disturbing and ultimately tragic, you'll be mad as hell by the time
the end credits roll, but you're not likely to forget what you just
saw.

7. HIRED GUN
- A
fascinating - and long overdue - documentary about music we've all
heard from the perspective of those we haven't...a dozen or so
professional musicians paid to make other people sound good.

6. HANS ZIMMER: LIVE IN
PRAGUE -To
this writer's humble ears, Hans Zimmer is currently our greatest
living film composer. As it turns out, Mr. Zimmer can also be quite
the showman...maybe even a bit of a rock star. This stunning concert
film features some of the best-known music of his career.

5. LOGAN - We here
at Free Kittens were never the biggest superhero movie fans in the
world and are frankly tired of the genre as a whole. But Logan
is a different animal, stripped of gratuitous spectacle and focusing
on only three key characters while embracing the look & tone of a
dark western.

4. A GHOST STORY -
A unique film which ultimately
plays like one of those wonderfully sad songs that manages to get
stuck in your head. While narratively demanding, it's actually an
emotionally simple story filled with haunting imagery that will stay
with the viewer long after it's over.

3. RONIN
-The
best action film of the 90s. This re-issue from Arrow Films throws in a few new-to-Blu-Ray extras in
addition to the supplemental material that was included on the
original DVD. However, the terrific 4K restoration is what
makes this disc the best re-release of the year.

2. KEDI
-A
congenial, beautifully-shot documentary about free-roaming cats and
their unusual relationship with various people and communities
throughout the city of Istanbul.This film is
a must-own for cat lovers everywhere.

1. MOONLIGHT - The
2016 Oscar winner for Best Picture is also the best Blu-Ray release
of the year. A poignant, quietly-stunning masterpiece..

HISS...THE WORST:
As much as we love movies, there are times when reviewing some them
feels like a real job. The following titles deserve to be buried in the litter box:

10. THE DINNER - A
good cast is wasted in this joyless, frustrating endurance test
padded with needless ambiguity, arty pretensions, boring flashbacks
and ham-fisted metaphors.

9. ALL EYEZ ON ME -
An artist as culturally influential and polarizing as Tupac Shakur is
certainly worthy of an equally compelling biography. But if you're expecting anything nearly as riveting as Straight Outta Compton, forget about it. Aside from a convincing performance by Demetrius Shipp Jr, this is a massive disappointment.

8. BRITNEY EVER AFTER
- An inane, brain-dead "biopic" in which all the research of
its subject must have come from the National Enquirer.

7. KILL 'EM ALL -
Unfortunately, not a Metallica bio. Instead, a severely
haggard-looking Jean-Claude Van Damme punches and kicks his way
through another batch of idiotic henchmen. Typical direct-to-video
sewage with a pointless and dumb twist ending that suggests somebody has seen The Usual Suspects too many times.

6. THE ASSIGNMENT
- What the hell, Walter Hill?You
used to be so adept at combining crackling action with interesting
characters, but even your last debacle, Bullet
to the Head,
was more trashy fun than this piece of low-wattage sleaze. I don't
know...maybe your best years are truly behind you.

5. THE SHACK -
Preachy, condescending, heavy-handed slop served up with a heaping side
dish of fatalism. Its message of forgiveness - even for a guy who
murdered your daughter and got away with it - is almost offensively
simplistic. Even worse...it's long, boring and features no characters
we really care about.

4. WE ARE THE FLESH
- Grimy horror porn masquerading as an art film. The
whole thing is really
pretentious, even tedious, including all the bizarre, perverse
imagery directer Emiliano Rocha Minter rubs our noses in. Perhaps
someone should inform him that simply being uninhibited doesn't
necessarily make you bold

3. THE KLANSMAN -
If it weren't so
narratively and technically inept, one could be really insulted by
the film's attempt to wrap racially-charged, exploitative sleaze in a
shroud of social awareness and self-importance. It's just a notch or
two above a grindhouse film, only with a respected director
and two legendary actors committed to tarnishing their
legacies.

2. GUN SHY
-Gun Shy
is missing two key components of any
great action-comedy: the action and the comedy.Even at 92
minutes, the film feels like it goes on forever. Gun
Shy
also has more end/post-credit scenes than a Marvel movie, none of
which serve any purpose...except to repeat the dick-attacking snake
gag again (it isn't any funnier the second time).

1. MASTERMINDS
-What makes
Masterminds
the worst of the year is the enormous waste of talent on both sides
of the camera, not to mention a squandered opportunity by turning a
rather remarkable true story into a juvenile, lowbrow comedy loaded
with cartoon caricatures and shit gags. Even that
could
be forgiven if any of it was remotely funny.

December 21, 2017

While
science tends to ruin some movies over time, others are put together
well enough that facts don't get in the way of the
fun, no matter how much time passes.

Our
human ancestors showed up long after the dinosaurs were gone, and
when they did, chances are none were as photogenic (with
perfect hair) as Victor Mature and Carole Landis. But One Million
B.C. was never intended as a history lesson, so such a minor
detail is moot. It's all about drama, action, monsters and special
effects, the latter of which won an Oscar in 1940.

Mature
grunts his way through the slight story of Tumak, a dreamy caveman
ostracized from his own primitive tribe by their leader, Akhoba (Lon
Chaney Jr.). He later ends up meeting equally-dreamy Loana (Landis)
from a more intelligent, peace-loving group. Tumak takes her back to
his old tribe and becomes their new leader, while she is a
positive influence on their aggressive ways.

Eat your heart out, Rachel Welch.

There's
peril along the way...fights for dominance, rampaging beasties and, of course,
a volcanic eruption that threatens the cast. Much of the drama itself
was probably silly even in 1940, but the film moves fast and is
congenially entertaining throughout. And for a 75 year old movie, the
special effects and production design are impressive enough that a
lot of footage has been reused in countless later films and TV shows.
Sure, those dinos are just magnified lizards or actors in T-Rex
costumes, but it works nonetheless, as does the climactic eruption.

While
One Million B.C. isn't high art, it's certainly a lot of fun,
though its hokey old charm will likely be lost on those raised on a
steady diet of Jurassic Park.

December 19, 2017

Someone
here might have been inspired by it, though, because Blood Money
has more-or-less the same plot, only duller, dumber and filled
with one-dimensional characters. A seriously slumming John
Cusack might - might - make this worth sitting through.

Cusack
plays Miller, an embezzler who pulls a D.B. Cooper by parachuting
from a plane with millions in cash. However, he loses track of the
money and is forced to search the woods for it. Later, three
obnoxious, perpetually-bickering college kids find the loot and two
of them decide to keep it. The third wants nothing to do
with what he suspects is drug money. He's the "smart" one;
the other two are so overcome with greed that the prospect of being
murdered by Miller doesn't faze them.

Two for flinching.

The
movie purports to be about how greed makes good people do terrible
things.But unlike the increasingly desperate characters in
Treasure of the Sierra Madre, these three kids are assholes
from the get-go. Lynn (Willa Fitzgerald), in particular, is
horribly-realized, whose sudden self-serving greed makes Daffy Duck
look like a philanthropist. She inexplicably belittles & betrays
lifelong friends who've constantly had her back, even after one of
them has been shot. Cusack, on the other hand, looks like he's having
fun in a role one assumes he took to pay the bills. He isn't in
the film nearly enough, but his quirky performance is good for a few
chuckles.

Elsewhere,
Blood Money is overly-serious, boring, generates
precious-little actual suspense and comes to a terrible conclusion. A
pity, really, because not only is Cusack's talent wasted, director
Lucky McGee has done decent work in the past, none of which is
apparent here. Perhaps he should go back to making horror films.

I
suppose if one didn't appreciate the glossy, action-movie trappings
of last year's Patriot's Day, which a was semi-fictionalized
account of the hunt for the guys responsible for the Boston Marathon
bombing, Stronger might be more palatable. But despite a more intimate, personal story, it's little more than a checklist of inspirational movie tropes.

Jeff Bauman (Jake
Gyllenhaal) is a working Joe whose legs are blown off during the attack. Because he was able to identify one of the suspects, Jeff becomes a local
hero and minor celebrity. He doesn't really understand, or want, all
the attention and adulation, a feeling exacerbated by his alcoholic
mother (Miranda Richardson), who keeps pushing him into the
limelight.

Jeff chooses not inform the home crowd that he's actually a Rangers fan.

For
much of the film, Jeff alternates between trying to adjust to a life
of limited mobility and angrily - often drunkenly - wallowing in
self-pity. There are times when only his on-again, off-again
girlfriend, Erin (Tatiana Maslany), seems committed to seeing Jeff walk
again. But even her resolve is often put to the test.

Stronger's
heart is in the right place and Gyllenhaal instills Jeff with a
simple likability that makes us empathize with him (even when he's
being kind of a dick). However, the film doesn't really have much to
say beyond what we've seen in countless other films where the
protagonist is forced to overcome tragedy. Furthermore, its main
character doesn't really engage in anything inspiring enough to make
a movie about.

The
performances are good and the story is presented with workmanlike
skill. But despite a few moments of emotional intensity - and a
stomach-churning flashback of the explosion's aftermath - Stronger
is curiously uninvolving. Ultimately, it's one of those movies we
respect more than enjoy.

Somewhat
notoriously - and superficially - mother! has been cited as acurrent example of the extreme disconnect between professional film
critics and general audiences. That it was marketed as a mainstream
horror film didn't help matters, either.

The ones who angrily walked out of the theater crying "WTF?" were
obviously unfamiliar with writer/director Darren Aronofsky. Aside
from Noah - his most accessible (and boring) film -
confounding the viewer has been his mantra. And Aronofsky doesn't
make horror movies. He makes WTF movies. If WTF can be considered a
genre, then Aronofsky is arguably its Hitchcock.

That
being said, mother! will certainly appeal to those in-sync
with his surrealist sensibilities. Like Aronofsky's more challenging
films (Pi, Requiem for a Dream and especially Black
Swan), it's ambiguous, disturbing, abrasive, baffling,
pretentious, lurid and sometimes brutally violent, with heaping
helpings of WTF along the way. But whether the viewer is intrigued or
repulsed, one thing it'snot is boring.

Looks like someone could use a few gallons of Round-Up.

Jennifer Lawrence and
Javier Bardem play a (happily?) married couple living in an isolated
old house in the middle of nowhere. While she's busy renovating the
place, he's struggling to find inspiration for his next book. There's
something not-quite-right about their relationship (besides the fact
he's twice her age), which is exasperated with the unexpected arrival
of a sickly stranger (Ed Harris) and his dysfunctional family. All
the while, there may be something awful going on with the house
itself, which only Lawrence's character appears to be aware of.

Following
a bloody accidental death and the weirdest funeral reception you've
ever seen, Lawrence kicks the family out of the house. She becomes
pregnant and Bardem finds his muse to write his next book (none of
these character's have actual names). Things seem idyllic for awhile,
until zealous fans of Bardem begin to show up. As for what
follows...WTF?

During the premiere of mother!, Javier has to explain the plot to Jennifer.

Don't
take this to the bank, but at times, mother! appears to be
some sort of biblical allegory. It could also be seen a denouncement
of atrocities committed in the name of a higher power. Perhaps it's a commentary on zealous worship and megalomania. It might even be about the second coming, the apocalypse or a satiric depiction of
God as a cruel, self-serving bastard. Or maybe I'm full of shit and
Aronofsky just wants the viewer to scream "WTF?". Whatever the case,mother!, while certainly horrific, is definitely not a horror film. It's
far more unsettling than that, like most of Aronofsky's filmography.

mother! is certainly the most bizarre movie released by a major
studio in a long time and will likely spark love-it-or-hate-it
debates for years to come. That it's wide open to various interpretations - or simply viewed as a disturbing fever dream - makes it not only memorable, but probably worth repeated viewings for those up to the challenge.

Detroit
is Kathryn Bigelow's best film to date. Hard to believe this is the
same director once responsible for Point Break.

You
know what else is hard to believe? That the horrific events in the
movie actually happened. I knew about the 12th Street Riots, which
stemmed from a conflict between the predominantly white Detroit police force
and the African-American community after raiding an after-hours club. But
I had no knowledge of the incident that occurred at the Algiers Motel
on the fourth night of riots, when police, led by a hot-headed,
trigger-happy cop - already in trouble for previously shooting a
fleeing black man - viciously and mercilessly interrogate several
tenants, one of whom they suspect is a sniper who took a shot at
them. It was actually a starter gun and, given the circumstances, a pretty bone-headed prank. But how the police retaliate and what happens in the aftermath is beyond appalling.

"Candy? Where?"

The
film does take a few dramatic liberties - and admits such during the
end credits - but the core message remains clear: The Algiers
incident was a travesty of justice and there's no justification for why things escalated so violently. What's even more unnerving,
considering the recent plethora of incidents involving police and
African-Americans, is the sickening realization that Detroit's
message may be more timely than ever.

The snozzberries taste like snozzberries.

Like
her previous two films, The Hurt Locker and Zero Dark
Thirty, Bigelow shoots events with an intimate urgency calculated
to instill unease right from the get-go; we're
consistently caught off-guard in every scene. Similarly, the city of
Detroit is depicted as a war zone, only this one's
right in our back yard and the enemy is someone we're supposed to
trust. But unlike those other two films, Detroit is far
more emotionally incendiary, partially because we know this shouldn't
be happening, but also because of the time taken to establish every
character, all of whom are portrayed by a terrific ensemble cast.
Because we feel like we know them, their fates matter to us more than
those in Zero Dark Thirty.

But
you know what probably isn't hard to believe? That Detroit
completely bombed in theaters. It didn't deserve to, but maybe
its unfortunate timeliness worked against it. Who the hell wants to
pay to see in a theater what we've been watching and reading in the
news every day? But Detroit is a hell of a film that deserves a new life on
home video. Compelling, disturbing and ultimately tragic, you'll be
mad as hell by the time the end credits roll, but you're not likely
to forget what you just saw.

You
can't say that about Point Break, can you?

EXTRA
KIBBLES

FEATURETTES
(these are all very brief, 1-2 minute segments): "The Truth of
Detroit"; "The Cast of Detroit"; "The Invasion of
Detroit"; "The Hope of Detroit"; "Detroit: Then
and Now"

December 13, 2017

Everything
you ever wanted to know about 20th Century Fox, but never thought to
ask...

This
hefty, handsome volume details the entire history of the iconic
studio, from founder William Fox's ambitious beginnings through 2015
(you know...a century). But the book isn't primarily about Fox's
movies. Though nearly every noteworthy film is mentioned, most are
just briefly discussed within the context of the studio's history
itself.

A
Century of Entertainment is mostly about the rise of Fox - both
physically and as a major Hollywood entity - as well as the moguls,
producers, actors and executives who've come and gone over the years.
Several chapters take the reader on a detailed tour of Century City,
building by building, which include detailed maps and scores of
photos. Elsewhere, the text chronicles the studio's highs and lows
over the decades, along with the power players behind the scenes. We even learn the origins of Alfred Newman's "Fox
Fanfare" music and the evolution of the iconic 'searchlight'
logo.

The
studio's early days are written about in far greater detail, therefore the most interesting (like most origin stories or biographies). Once it's
established that Fox is an entertainment giant that's here to stay, the 1950s-on-forward are summarized more briefly, sometimes becoming a
breathless list of notable films released during those eras. Later
chapters cover the corporation's expansion into television, such as
classic TV shows, the FOX network and cable channels.

In
addition to being a fascinating read, this is a
beautifully-assembled, hardcover coffee table book filled with
hundreds of rare photos to accompany the text. Though it comes with a
price nearly as heavy as its weight, 20th Century Fox: A Century of
Entertainment is a must-have for serious fans of Hollywood history.

We here at FREE KITTENS love disaster movies above all other genres, so this is good news to us. Warner Bros' sci-fi disaster epic, Geostorm, will be available on home video January 23. After an unprecedented series of natural disasters threatened the
planet, the world's leaders came together to create an intricate network
of satellites to control the global climate and keep everyone safe. But
now, something has gone wrong—the system built to protect the Earth is
attacking it, and it's a race against the clock to uncover the real
threat before a worldwide geostorm wipes out everything...and everyone
along with it.

In
the latest terrifying installment of the legendary SAW series, law enforcement find itself chasing the ghost of a man
dead for over a decade, embroiled in a diabolical new game that’s only just
begun. Has John Kramer, the infamous Jigsaw Killer, returned from the
dead to commit a series of murders and remind the world to be grateful for the
gift of life? Or is this a trap set by a different killer with designs of
their own?

Immerse
yourself
within Jigsaw’s world with the release’s extensive Special Features,
including an all-new 7-Part Documentary, an Audio Commentary with
Producers
Mark Burg, Oren Koules, and Peter Block, and “The Choice is Yours:
Exploring
the Props” featurette. The 4K Ultra HD and Blu-ray versions feature
Dolby Atmos audio mixed specifically for the home, to place and move
audio anywhere in the
room, including overhead. The 4K Ultra HD Blu-ray also features Dolby
Vision high dynamic range (HDR), growing Lionsgate’s library of titles
featuring both
Dolby Vision and Dolby Atmos. Dolby Vision transforms the TV experience
in the
home by delivering greater brightness and contrast, as well as a fuller
palette
of rich colors. Together with the captivating sound of Dolby Atmos,
consumers
will experience both cutting-edge imaging and state-of-the-art sound
technology
for a fully immersive entertainment experience.

December 12, 2017

The event the world will never forget! Winner of two Academy Awards including Actor in a Leading Role (Maximilian Schell, Topkapi) and nominated for eleven Academy Awards®, including Best Picture, Judgment at Nuremberg
is a magnificent achievement in filmmaking, boasting brilliant
performances by an all-star cast. American judge Dan Haywood (Spencer
Tracy, Inherit the Wind) presides over the trial of four German
jurists accused of "legalizing" Nazi atrocities. But as graphic
accounts of sterilization and murder unfold in the courtroom, mounting
political pressure for leniency forces Haywood to make the most
harrowing and difficult decision of his career. This masterpiece,
considered by many as one of the greatest films of all time, was
directed by the great Stanley Kramer (On the Beach) with a
stupendous cast that includes Burt Lancaster, Richard Widmark, Marlene
Dietrich, Judy Garland, Montgomery Clift and William Shatner.

Acting legends Spencer Tracy (Judgment at Nuremberg) and Fredric March (The Iceman Cometh) go toe-to-toe in this thrilling recreation of the most titanic courtroom battle of the century. The great Stanley Kramer (On the Beach) directs this masterpiece featuring Gene Kelly (On the Town) in a rare, critically acclaimed dramatic role. Inherit the Wind
is powerful, provocative cinema and a heaping measure of entertainment.
The controversial subject of evolution versus creation causes two polar
opposites to engage in one explosive battle of beliefs. Attorney
Clarence Darrow (Tracy) faces off against fundamentalist leader William
Jennings Bryan (March) in a small Tennessee town where a teacher has
been brought to trial for teaching Darwinism. The stellar supporting
cast includes Dick York, Donna Anderson, Harry Morgan, Claude Akins,
Norman Fell and Noah Beery Jr.

The Doll

Top 10 Box Office Movies

About D.M. Anderson

D.M. Anderson works and lives in Portland Oregon. He is the author of two young adult novels (Killer Cows & Shaken) and a collection of dark tales (With the Wicked). He has also published several short stories which have appeared (or will appear) in various anthologies and magazines such as 69 Flavors of Paranoia, Night Terrors, Trembles, Encounters, Implosion, Strange Fucking Stories, Perpetual Motion Machine. He documents his adventures in the dark onon his movie site, Free Kittens Movie Guide.